True and False Arts: A Discussion of Tempo in the Use of the Feint

Greetings,

Feints are a subject which come up in discussions with regard to the tactics of fencing quite often, and quite frankly I am surprised I have not written an entry in this blog about them yet. So, in order to fill this particular hole in my explanations of fencing I present the following entry on the subject of the True and False Arts. I can tell you that this is only examining on element of the feint, but it is one that needs to be considered as it is vital to how feints work, or don't work.

Cheers,

Henry.

“I am constrayned to divide this Art into two Arts of Sciences, callinge the one the True, the other, the False art: But withall giving everie man to understand, that falsehood hath no advauntage against true Art, but rather is most hurtfull and deadlie to him that useth it.” (Di Grassi, 1594)

            The first question is what is this all about, True and False arts? Discussion of Tempo? Put simply, tempo is something, which is integral and one of the founding elements of fencing, essentially to understand this discussion the reader must understand that all actions in fencing take time. As for the True and False Arts, this is a discussion which has raged since the Renaissance, and will continue to rage amongst those who use the rapier, indeed any sword. In essence the True Art is the use of the blade using direct attacks against the opponent, and the False Art is the use of the blade using feints and misdirection. If the two concepts are combined then it will be understood as to what this discussion is about.

The feint can be used to quite good effect to deceive the opponent into opening themselves up for an attack. This is using the False Art. There were Renaissance masters who thought that the False ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

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Art of Combat

Greetings,

Art, and what it is has been a question which has plagued theorists for many years and no doubt will continue to plague them as art changes and changes again. This blog addresses the idea about the art being found in a different place namely in the combat manuals of the medieval and Renaissance periods.

In the search for the art of the medieval and Renaissance period most people go to the typical sources, examining known artists of the period. Names such as Da Vinci, Michelangelo Giotto and Durer others are very well known for their various pieces of art, some of which have become famous and stayed as such even into our own period. What needs to be realised is that art can also be found in other sources. The manuscripts of the period are one good example, another is the combat manuals of the period, a source which is often overlooked in the search for art.

Examples of the art of which I speak can be found as early as the fifteenth century and indeed earlier an example of this can be found here http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=143459&handle=li. This is a page out of a manual from 1410 written by Fiore dei Liberi. Now many Western Martial Artists will know of this manual and will know of the art which can be found within it. However for them it is the application of the techniques which are present rather than the artwork which is more significant for them. The artwork which is present and the skill it took to present such art cannot be denied.

What is even more interesting is that well-known artists of the period even dabbled in the martial arts as well. It is well known that Benvenuto Cellini an Italian artist of some note was involved in at one significant duel in his history in which he killed a man. What is less known is that the renowned artist ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

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Among other places...

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The Way Forward...

Greetings,

This will be a bit of an ad hoc post rather than anything planned. So going along with the title of the overall blog this will be a bit of my ramblings. The focus of this one as is indicated is looking at the view forward overall.

In my view I see two ways forward, following the manuals and recreating them as they are, and taking what we can from the manuals applying these techniques and developing our own ways. In some ways this is like the emergence of eastern martial arts in the 70's and 80's. What needs to be realised by all is that both approaches have their benefits and issues.

The first is an historical recreation of skills expressed by previous masters which keeps the examination of period masters alive and the history associated. In many ways this provides some of the fuel for the second approach. These investigations provide examinations of period masters and thus reproductions of techniques developed.

The second approach uses manuals but in a different manner taking core principles and techniques in order to enhance new approaches. This is more focussed towards the western martial arts approach and thus a much more practical one. The investigations are focussed toward how the techniques apply as applied to an opponent before them.

What is important in this is that both approaches need to be encouraged as each one fuels the other. The first approach finds period manuals and investigates them to see how the techniques work, the second uses the techniques and encourages further investigation. In both approaches the investigation needs to be a broad overlook, not narrowing into a singular school or approach. The only way for all to benefit is for all to share with one another and thus benefit all.

Cheers,

Henry. 

Of the Use of the Off-Hand: Part III

Greetings,

This is the third and final part of my discussion and lesson on the use of the off-hand.

Cheers,

Henry.

Advanced Actions

            There are many further actions which can be utilised in the use of the off-hand; two specific areas will be addressed along with some general ideas and discussions of these more advanced techniques. These are more the combination of simple techniques utilised together for a greater effect. These techniques will obviously be based upon the same principles as the simple techniques, merely expanded to include more techniques and possibilities.

Counters to Counters

            The first area of discussion is the concept of the counter to beat a counter. Actions have been discussed. Counters to these actions have been discussed. By applying the same principles and examining the situation counters can be made to these counters. This cycle can continue until one combatant has run out of ideas and breaks off, until a stalemate has been reached and both combatants break off, or until one of the combatants succeeds in his action.

The most important thing in this is as with all combats is to ensure your safety first. The first thought should be to counter the action of the opponent’s sword and then consider attacking. If both can be achieved simultaneously then you will have a great advantage. In the situation of breaking off remember to ensure your safety in the process of breaking off and also once completed.

Beat and Opposition Follow-Up

            The basic techniques have been described for both the beat and opposition parries in both their defensive and offensive forms. One example has been given of where to direct the force in the pushing to the off-hand side of the opponent. This is only one option of many that may be used. The direction of the parry and the control should be dependent on what the fencer has planned to follow the action.

            The parry may be followed by a simple control, contact with the weapon, or even a second parry with the hand depending on the chosen situation. This is where it is important to know how to control the direction in which the opponent’s weapon will travel and to have some idea of what to follow this action with. Some ideas about this particular concept will be discussed below in the combination and application of the sword and the hand.

Blade grasping 

“Moreover, having the use of your lefte hand, and wearing a gantlet or glove of maile, your enemy shall no sooner make a thrust, but you shal be readye to catch his swoorde fast, and to command him at your pleasure:” (Saviolo, 1595) 

            Saviolo explains the operation of the parrying gauntlet succinctly. The purpose of the gauntlet is to gain the opponent’s sword by grasping it and controlling it. However, there is a little more detail that should go into the consideration in the use of the gauntlet. Some of this has to do with the simple use of it, but a little also has to do with the safe use of it.

            First of all the gauntlet and blade grasping is designed to give the user solid control over the opponent’s weapon whether or not they are wearing the gauntlet. The same actions can be performed with a standard glove but the user needs to be aware of the threat to the hand. There is one great advantage and one major disadvantage to this controlling action. The greatest advantage is the solid control over the opponent’s weapon and thus being able to move it about, however this solid control also tells the opponent exactly what is going on and gives them a chance to react to the action of the grasp. Of course there is also the obvious potential for the hand being cut if the gauntlet is not being worn.

            In practicing blade grasping it is best to consider the advantages that you possess before you begin. The first question is whether a gauntlet is being worn and how this will change the operation of it. To begin, with it is best to practice without grasping the opponent’s blade. This prevents the embedding of the idea of the necessity of grasping and thus inability in other actions. Use the previous drills to get used to the idea of using the hand first. Once this has been achieved you can consider grasping and controlling.

Drill 13: Control of the Weapon

1.    Partners stand across from one another in their ward at combat distance.

2.    One makes an attack at the other which is parried with the off-hand.

3.    Once parried the opponent’s blade should be grasped, and then moved about to get an idea of how the opponent’s weapon is controlled in the grasp.

4.    Follow the same action with grasping about different parts of the blade. This is designed to enable the different levels of control and different positions that the opponent’s weapon can be moved to.

            The choice of grasping or not grasping is always present with the open hand regardless of whether a gauntlet is worn or not, but you need to make considerations with regard to this. First of all for recreationalists the question of permitted use within the rules structure must be answered. The other real question is as to what advantage there is in the grasping of the current opponent’s weapon. In some situations it is actually better to retain lighter control rather than grasping. Grasping is a solid control action and sometimes it is an advantage to have a more mobile ability to the control action. Choosing when is important.

Drill 14: Grasping and Release

1.    Partners stand across from one another in their ward at combat distance.

2.    One makes a thrusting attack at the other which is parried with the off-hand.

3.    Once parried the opponent’s blade should be grasped, and then moved about to get an idea of how the opponent’s weapon is controlled in the grasp.

4.    The same attack and defence should be made, except this time the blade is not grasped on the initial contact merely controlled with the hand. Slide the hand down the weapon and grasp lower on the blade.

5.    The same action can be performed up and down the blade. The important thing is to get the idea of the grasp and release of the opponent’s weapon and the advantages that both give. 

Blade grasping clearly gives some great advantages over the opponent and solid control over the opponent’s weapon, however just as with any other skill it should be combined with others and used when it is best suited to the situation. Just as with any other skill it is also one that needs practice to become effective. The use of blade grasping will often result in the actions of closes and gripes and you should consider the consequences of the use of blade grasping and apply this to the current situation.

Sword and Hand

            The following part of the lesson will discuss the use of the sword and the hand together. Most of the actions previously have used the sword and the hand together but in a passive sense. The following considerations are for actively using the sword and hand together.

            The first point of call for this discussion is what will be called a “1-2”. In this action the sword or the hand is placed on the opponent’s weapon in defence and then the contact is swapped to the other. This can be performed with initial hand contact or initial sword contact. This response is designed to enhance your response to the opponent’s attack. These actions can be extended to include three or more points of contact either using the hand or the sword twice depending on the desired result and time available.

For these actions to work you must consider the placement of your sword and also your hand to ensure that they do not get entangled in the process of the action. If your hand or your ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

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Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

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... or direct from the author.

Of the Use of the Off-Hand: Part II

Greetings,

This entry is part 2 of using the off-hand in rapier combat.

Cheers,

Henry.

Technique

            With the elements of theory enumerated it is possible to start to examine the practical elements in the use of the off-hand. Essentially, the off-hand is used in two techniques which are related to one another. The first is the parry and the second is the action of control. The parry, and choice of parry, will often determine whether an action of control is possible. To begin with the parry will be dealt with.

Parry

            In parrying using the off-hand is much like using the sword. It has the same options available to it, and same principles apply. It is possible to perform a beat or a parry with opposition, and it is also possible to perform a purely defensive parry or one of a more active nature. Before the specifics of these different parries are examined the overall elements need to be examined.
            There have been some principles described above and these apply to the use of the off-hand in all instances, however more detail is required. Firstly the hand should be held with an open palm, the fingers may curl a little, but the open palm is the primary method that will be used. The open palm reduces the instinct to always grasp the opponent’s weapon. In the use of the off-hand it is the palm that should be placed against the opponent’s weapon; this should be done in a smooth, sweeping motion to allow the best contact.

Drill 1: Hand on the Blade

1.    Two fencers stand across from one another one with the weapon extended but not fully, the other in his normal ward. They should be close enough that they can reach each other with the point of their weapons.

2.    The fencer from his normal ward should extend his hand and place the palm against the opponent’s weapon, first the inside then the outside of the blade.

3.    The action should be performed gently, only contact is needed. This focussed on the action of placing the palm on the opponent’s blade.

 

This first drill is designed to familiarise the combatants with placing their hand against the opponent’s weapon with the palm and on different sides of the weapon. This only covers a single position but highlights the basic concept of the use of the hand against an opponent’s weapon. The next part of the process is the parry itself.

Beat or Control?

There are two options which have been described the beat and the control, or parry with opposition. Each has its advantages and disadvantages. The beat removes the opponent’s weapon with impact and force and diverts the opponent’s blade off-line; this is the faster parry however control is lost over the opponent’s weapon. The parry with opposition or control parry retains the opponent’s weapon and thus control however there is the potential that the hand can be cut and it is slower. In actual fact it is better to know both types of parry and when they are advantageous than to purely focus on one.

Parry Execution

The parry with the off-hand is designed as an action to remove an incoming threat against the fencer. This needs to cover all four lines to some degree however the fencer should be careful about over-reaching. This is especially important for the low line parries. As described defensively the fencer should wait for the incoming attack and then defend against it. The active beat and control will be discussed further along.

In the previous drill the hand was placed against the flat of the blade so that the combatant can see how the hand is placed against the opponent’s weapon. The execution of the parry is much like this. The execution of the parry, regardless of whether it is a beat or opposition parry is the same, the change being made toward the end of the parry.

From a normal terza ward, to protect the high inside line the hand should be turned so that the palm comes into contact with the opponent’s weapon and then is pushed over the shoulder of the off-hand. This is the easiest of the parries as it takes minimal movement of the hand and arm.

To protect the high outside line the hand should be pushed across the body to come in contact with the opponent’s weapon and then pushed past the sword side of the body. Care should be made that the combatant does not inadvertently parry their own weapon. To avoid this, the sword should be dropped a little or lifted a little depending on where the attack is aimed at.

With regard to the low line parries, no hand parry should be made lower than where the wrist sits on the fencer when his arm is placed down at his side. To attempt to parry lower will lower the head toward the opponent’s weapon. For the low inside line the arm is dropped toward the opponent’s weapon the palm is turned toward the weapon and pushes it to the off-hand side. This is often performed as a sweeping action. For the parry to the low outside line, the arm and hand with the palm is dropped and pushed across the body so that the palm pushes the opponent’s weapon past the sword side of the body.

Drill 2: Simple Parry Action

1.    Stand with a partner at a range where each can strike the other with a fully extended blow.

2.    One of the partners should make slow thrusts toward the partner and the partner should parry each one using his off-hand. The attacks should be slow but deliberate toward each line.

3.    The focus of the drill should be parrying the opponent’s weapon away from the fencer using the palm of the hand in each line. Placing the palm against the opponent’s weapon and pushing it, or guiding it, away is sufficient at this stage. Speed can be increased once the partners are comfortable with the parries.

Opposition Parry

            The opposition parry is the parry which has been described in both the description of the parry and also the drill above. The only real difference is that the off-hand will stay in contact with the opponent’s blade for an extended period of time rather than simply leaving it once the threat has passed.

            The purpose of the parry with opposition is to gain and maintain control over the opponent’s weapon. This relies on the off-hand maintaining contact with the opponent’s weapon in the process. It is this parry which is used to push and control the opponent’s weapon. The important thing, at this stage, is that this is performed with an open hand, using the palm of the hand to control the opponent’s weapon. Grasping is a skill which will be discussed further along as it is a little more complex.

            For the most part the parry with opposition is used passively and thus defensively against the opponent’s weapon. The control elements and moving the opponent’s weapon come as a result of the passive nature of this parry. It can be used more offensively, but you need to place yourself in the correct position to do this. For the most part this consists of taking control of an extended weapon and pushing and controlling it to where you want. This will be discussed more under actions of control.

Beat Parry

            The beat parry is one of the options available. This parry is designed to remove the opponent’s threat with velocity and impact of the parry against the weapon. This technique is often the first that will be used by fencers as it is relatively simple but still requires technique.

            The effect of the beat should be made at the very end of the parry rather than performing a full-blooded swipe at the opponent’s weapon. Just as with the beat with the sword the impact should come from the wrist, in this case sending the palm against the opponent’s weapon with velocity. Saviolo states, “then must the scholler with his left hand beat aside his masters rapier, not at the point, but in the strength and middest of the weapon,” (Saviolo, 1595). The beat is better performed against the opponent’s weapon on the debole or mezzo for greatest effect.

            In the performance of this parry you need to come into contact with the opponent’s blade on the flat. To come into contact with the edge will sting the palm and even worse if the fingers come into contact. You should always aim to parry with the palm rather than the fingers.

Drill 3: Beat Parry: Defensive

1.    Stand with a partner at a range where each can strike the other with a fully extended blow.

2.    One of the partners should make slow thrusts toward the partner and the partner should beat parry each one using his off-hand. The attacks should be slow but deliberate toward each line.

3.    The focus of the drill should be parrying the opponent’s weapon away from the fencer using the palm of the hand in each line. Speed can be increased once the partners are comfortable with the parries.

4.    Once comfortable with the basic defensive parries, the partners should experiment with the directions that the opponent’s weapon can be beaten.

Placing the hand into correct position for the defensive parry has already been described. However, just as with the sword there is also a pre-emptive or active beat. The ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

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Of the Use of the Off-Hand: Part I

Greetings,

This entry is the first part of the lesson on the use of the off-hand in particular in the use of the rapier. It should be noted that much of the information will relate more closely to those of the recreational bend and in particular more toward those within the SCA. However, I hope that the information presented here and in the following entries will be of interest.

Cheers,

Henry.

Introduction

“V. I will tell you, this weapon must bee used with a glove, and if a man should be without a glove, it were better to hazard a little hurt of the hand, thereby to become maister of his enemies Swoorde, than to breake with the swoord, and so give his enemy the advantage of him.” (Saviolo, 1595)

            The following lesson could be seen as an introductory to Saviolo however the parry with the off-hand is not restricted to Saviolo. Other masters described and used the off-hand to parry with. Fabris argues against the use of the off-hand to parry, but includes techniques on how it should be used in four different instances. Capo Ferro demonstrates and describes techniques using the off-hand to parry or grasp with on four different plates. Thus the use of the off-hand is actually more widespread than most would give credit.

            In the standard modes of rapier training the off-hand is often neglected or brushed over in favour of the sword parry. Indeed the techniques involved with the use of the hand parry are often simplified almost to the point of ignorance of their use. However it is a useful technique and gives the user an additional defence when used. The use of the off-hand for parrying can also be beneficial to use of off-hand equipment later on as the hand is already active.
            The use of the off-hand is even presented in most of the guards presented in rapier combat as they present the off-hand in front of the body ready for use, rather than behind the body. Even if it is static the off-hand can provide a defence if it is accidentally hit rather than the body, however it is a much more active use which will be the focus here.
            Saviolo is the most active user and advertiser of the use of the off-hand. Indeed he even prefers the use of the use of the off-hand parry to the use of the sword for the same action. His principle use is based upon the idea that it is better to use the hand and keep the sword free and point on-line and thus threatening the opponent easy for use. However even in this he does not give much instruction as to the specifics of the use of the off-hand, merely describing the particular situation and its use. This lesson is designed to introduce such specifics and present the off-hand as a useful, if often forgotten, option for the fencer to use.

Off-Hand Definition and General Use

            Before the details of the use of the off-hand can be discussed some important definitions and principles need to be addressed. The first part of this is to define exactly what is meant by the off-hand. The off-hand is that part of the body which extends from the points of the fingers to the wrist bone, in most instances. However, should a parry be missed with the hand and caught with the forearm and still successfully made, then it can also include this.
            In the use of the off-hand against the opponent’s blade, the palm of the hand is the optimum contact surface. This is due to the padding which is present on the palm of the hand and also the increased control in using the palm of the hand. Firstly, if the back of the hand is used, the knuckles can come into contact with the opponent’s weapon and this will sting. Secondly, the back of the hand gives no option to grasp the opponent’s weapon and gives less control.
            While the parry with the hand is a technique which can be used and effective in and of itself, it is even more effective when combined with another technique. In defence the off-hand parry can be enhanced by the use of a void, for example. This is a technique which needs to be added and used with other techniques; use the hand, sword and other techniques together and it will be substantially more effective.
            When the hand parry is considered one subject which always eventuates is the subject of the parrying gauntlet. This is a subject, which is best discussed and defined early in the lesson. The parrying gauntlet is not required for the off-hand to be effective, but can be used as an adjunct to enhance its use.

Parrying Gauntlet

            There are several different types of gauntlet that can be used on the off-hand in order to enhance the techniques which will be discussed here. The most common type of gauntlet ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

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... or direct from the author.

On the Manner of Wearing a Sword: The Lesson

Greetings,

This is the lesson version of the discussion which I had previously made on the manner of wearing a sword. This takes a much more practical approach to the subject and includes references for anyone who might be interested in a little more research, or where I got my findings from. This lesson is more focussed at a recreationalist approach to the subject, but still applies overall.

Introduction

“The man dancing the Balletti gravi will wear the cloak, and the sword in the manner which is demonstrated in the design of the Balletto of the Bellezze d' Olimpia: and dancing Cascarde, or Gagliarda, they will carry that as is demonstrated in the design of the Cascarda Alta Regina: keeping it as most it will please him either under the right arm or under the left; which one does not matter much: neither dance without this ever, because it makes a most brutish sight. Dancing gagliarda, and finding the sword, he shall hold that with the left hand, such that he would not let it go wandering: and finding it again in the Ballo to have little field, keeping it with the hand, it will return some with the point towards the forward part, such that it not offend the bystanders.” (Caroso, 1581)

The wearing of a sword is a subject which is often overlooked with regard to weapons, but is one which needs some attention paid to it. Some would think that this is a subject where the knowledge is automatic, but there is a great deal more attention that needs to be paid to it. The wearing of a sword, especially in public is a skill not unlike those designed to teach how to use the sword, thus it is a skill which needs instruction, especially for the modern wearer who is not used to the issues associated.

Caroso, in the above statement, gives some very specific instructions for wearing the sword and cloak when dancing. Some of the information presented above will be re-presented below as it is applicable to the situation. Caroso's instruction is primarily discussing the wearing of the sword and cloak while dancing whereas this investigation will cover a much broader consideration of wearing the sword, while covering some specifics as well.

Appropriateness

            The first question that must be dealt with in regards to wearing a sword is whether or not it is appropriate to wear a sword in the first place. There are times when it is appropriate to wear a sword and there are also times when it is most definitely not appropriate. In this, there are times in medieval and Renaissance instances, as they are being recreated, and times in the modern world when it is and is not appropriate to wear a sword and the level of censure can be severe for some of these.

Most of the appropriateness of wearing a sword comes from the perceived social norms and conventions of the situation, as well as some legal ones. It is not normal for a person to be seen walking down the street in the modern world with a sword, this would obviously be a breach of a social norm. More to the point in this particular situation a person could also be pulled up by the local constabulary and could be charged with "going armed in public with intent to cause fear", which while it is a misdemeanour is still a serious situation to put yourself in. However, should the same person be found wearing medieval or Renaissance dress and the appropriate weapon at a medieval or Renaissance event or fair, then the situation would be different and the person would blend in. Consider whether the situation is appropriate before girding yourself with your weapon.

Weapons and Alcohol

Weapons and alcohol simply do not mix. There are many stories of people being injured and/or killed when weapons and alcohol are mixed. Some of these stories are from the medieval and Renaissance period and some are from the modern period. The two should be kept from one another regardless of the social situation, thus it is advised that the weapon be put in a safe place before going anywhere near a bar or tavern. Wearing a sword into such a situation has too high a potential for causing issues. The owner of the weapon should even consider putting the weapon away in a safe place should they be in a private situation where alcohol will be served.

Costume

“While some military swords were worn as costume decoration from the end of the fifteenth century, the rapier and dagger combination were specialist weapons designed for use away from the battlefield.” (Patterson, 2009:58)

Surprisingly enough, even when associating with a medieval or Renaissance recreation group the consideration of appropriateness still applies and needs to be considered. The first question that needs to be asked is whether the wearing of a sword is appropriate for the attire which is being worn in the first place. The common wearing of swords in a civilian situation did not really come about until the Renaissance period, as indicated, and even in that it was not really until the later period that it became common. Thus the period of the costume with regard to wearing a weapon is something that needs to be considered. You should investigate whether or not it would be appropriate for your own costume.

Rank

“as economic development generated wealth for the middle classes, many aspiring gentlemen incorporated the rapier and dagger into their everyday dress … As clothing accessories they were decorated as a set and worn in a fashionable sling called a hanger. Their decoration might also match the spurs in their boots, the pendants around their necks, and the embroidery in their clothes” (Patterson, 2009:58)

With regard to the suitability of the attire for wearing a sword with it there is also the question of rank, or to be more general, social status. Wearing a sword with a peasant outfit would look almost as out of place as being heavily jewelled. Thus we must consider whether the attire which is being worn is appropriate to be accompanied by such a weapon.

With regard to the question of rank, there are some obvious ranks which would carry swords as part of their outfits. These would be knights and the nobility. However there are also lower ranks that would wear weapons, such as the gentry. In fact a gentleman of the later Renaissance period would not be seen in public without a weapon at his side. However, to add to this we must consider the image which is being presented in this instance and whether such a weapon is suitable for it. Clearly a person should consider whether they will wear a sword in the presence of royalty as this can cause some issues as well. Obviously only people of the appropriate rank should even consider doing so. It is better to assume that you do not have the appropriate rank than to wear the weapon and possibly cause issues.

Mounting

Now that the appropriate situations have been considered it is possible to look at the mounting of the weapon, or how it is worn. This would seem to be an automatic sort of thing, but actually there are things which need to be considered. The appropriate mounting for the weapon must be considered in order to be able to control the weapon. Having a weapon in an in appropriate mounting not only looks bad but also can lead to a lack of control of the weapon which can be disastrous. Thus the appropriate weapon must be placed with the correct mounting.

Suitable to Weapon

“Most medieval swords were strapped to the wearer with belts attached directly to the scabbards. They sat on the left hip, slightly angled forward so they could be controlled and drawn easily. Later swords were usually suspended from the belt at a more horizontal angle, either by various arrangements of straps or by a baldric, a broad strap hung from the right shoulder and running round the body across the left hip.” (Ducklin and Waller, 2001:34)

In the case of all swords, this must start with a scabbard. This protects the blade of the weapon and prevents a piece of steel being exposed to damaging or being damaged by passers-by. The next part is what sort of hanger is appropriate, or even if one should be used. For most medieval swords, the scabbard was mounted directly on to the belt as they had a belt designed for the purpose. In the case of the rapier and later weapons a hanger was attached to the scabbard and this was mounted on to the belt. The owner of the weapon should research for the appropriate mounting rig for the weapon.

Position

Once the correct mounting rig has been chosen then it is necessary to consider the position of the weapon. In the case of the rapier the hanger and belt made it possible to shift ...

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Bibliography

Caroso da Sermoneta, Fabritio (1581) Il Ballarino

Ducklin, K. and Waller, J. (2001) Sword Fighting: A Manual for Actors & Directors, Applause Theatre Books, New York, USA

Patterson, A. (2009) Fashion and Armour in Renaissance Europe: Proud Lookes and Brave Attire, V&A Publishing, London, UK